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"Type and type-founding Design Exhibitions."
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Futura : the typeface
This is an examination of one of the most popular typefaces ever created, Futura. Celebrating its 90th anniversary this year, the story of Futura is a fascinating one. Charting its Bauhaus origins to its use as the first font on the moon in 1969, this book tells the story of how the typeface went from representing radicalism in design to dependability. It is durable and timeless, and is worthy of being rediscovered and celebrated.
Book
One hundred books famous in typography
The story of art and technology working in harmony with each other, all the way from Johannes Gutenberg's ingenious development of a system for reproducing texts through the introduction of newer technologies like hot-metal line casting, phototype, and digital type. Featuring scholarly yet accessible context for the works discussed and their typographical significance, and illustrated with more than 200 hundred images, Jerry Kelly's book is the most comprehensive exploration yet of this essential facet of bookmaking and publishing.
Book
The Blackletter today
They represent a range of styles and possibilities,\" [Rob Keller] continues, \"to give a taste of how this style has evolved and where it can still go.
Magazine Article
TYPOGRAPHY: Shape my language
Type designer (and regular CR contributor) [Bruno Maag] has put together an unusual typographic installation currently showing at the gallery of Viennese design studio Walking-Chair. Running until June 12, Shape My Language takes the form of a kind of physical fog of type.
Magazine Article
Fubsy. Griseous. Cacotopia. Yestreen
The show features works from 47 participants including Angus Hyland, Andy Altmann (Why Not Associates), Jonathan Ellery, Alan Dye (NB: Studio), Freda Sack, Johnson Banks, David Pearson, and Marion Deuchars. It was the brainchild of Rebecca Pohancenik, a student on Kingston University's MA in curating contemporary design, which is run in partnership with the Design Museum. Pohancenik is also one half of studio zwei, a design and typography studio founded last year with her husband Andreas Pohancenik, and (if that wasn't enough) is also halfway through a PhD on 17th century clock mechanisms. She contacted the contributors directly about The Art of Lost Words and was surprised to find that virtually everyone agreed to take part. \"I was astonished,\" she says. \"I think it was the way I pitched it - I said 'if you're interested, let me know and I'll send you the list of lost words', and I think they were really curious to know what the words were. And once they saw them, they immediately started thinking of things. I let them choose a word - I felt that was really important, because it's supposed to be creative, they're supposed to be responding to the words.\"
Magazine Article
LINKS: Hobo
Although designed by Morris Fuller Benton around the same time as his classic News Gothic (see page 12), Hobo couldn't be more different...
Magazine Article
An exhibit points out the importance of campaigns that are easy to read
Lighthouse International has assembled 300 print ads in an exhibition at its offices in NYC, some which are legible to the partially-sited and some that are completely unsuccessful. As the majority demographic of this country ages and begins losing visual keenness, Lighthouse Intl. is showing that some advertisers are not getting their message across. Some companies, like Unlimited Advantage and agency Thompson Connect were surprised by the trouble their ads created for the sight-impaired. For the many young and well-sighted art directors, the exhibition teaches the importance of readability.
Newspaper Article